Dissertations / Theses on the topic 'Contemporary drawing'
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Williamson, Naomi, and naomiruthwilliamson@mac com. "The Drawn Subject: Meaning and the Moving Drawing." RMIT University. Art, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080617.142838.
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Using the vehicle of hand drawn animation, this is an ongoing reflection of instances that repeat themselves to a point beyond the humorous and back. The Myth of Sisyphus 'The Gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back on its own weight. They had thought with some reason that there was no more dreadful punishment than futile and hopeless labour.' Albert Camus- The Myth of Sisyphus By observing and illustrating assiduous daily gestures and events our absurd hero is revealed: this protagonist, be it object or human consciously and often unconsciously lives within a relentless finite experience. As the same moment is duplicated, the
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Grant, Jennifer. "Drawing and glass : integrating theoretical and contemporary drawing issues with studio glass practice." Thesis, University of Sunderland, 2012. http://sure.sunderland.ac.uk/6494/.
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This research examines established and emerging practical methods and theoretical ideas in contemporary drawing in relation to studio glass. The Studio Glass Movement, encompassing both applied and fine art practice, originated in the 1950’s and, despite rapid advancements in the subject, glass is still considered an emergent material when compared to most other studio processes. For this reason existing and long established practices in drawing, developed in relation to other materials, may not be as effective in realising or exploring those qualities which are particular to glass, whether aesthetic, technical or philosophical. Parallel to this are rapid changes happening within the field of contemporary drawing as a subject in its own right, which influence the wider context in which studio glass engages. In this research the use of empirical methods provide working examples of how drawing and glass can be integrated, through the production of a body of new work supported by theoretical and contextual findings. The investigation is practice orientated, incorporating both practice led and practice based methodologies. The practice led theoretical research proposes a new drawing taxonomy in which dimension, notation, physiology and improvisation are understood as key components in the theory and practice of drawing. This is examined here in relation to glass as both a subject of drawing and as a material process. Identification and reference to contemporary issues in drawing come from a variety of sources, for example through the Drawing Research Network, contact with specialist drawing research hubs including Wimbledon School of Art and Loughborough University, specific exhibitions and attendance at related events and conferences . The practice based aspect uses facilities at the Glass Department, University of Sunderland and a drawing studio in Newcastle upon Tyne. The main area of exploration is concerned with the use of drawing integrated within kiln cast glass as differentiated from established practices such as engraving and stained glass which use drawing as a surface application to an existing glass body.
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Casey, Sarah Marie. "Drawing the delicate : an investigation of values of delicacy in contemporary fine art drawing." Thesis, Lancaster University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.601347.
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This thesis is part of a critical exploration of what it means to say a drawing is 'delicate' . Delicacy is one of the poetic, aesthetic and psychological qualities closely allied with the history and practice of drawing. Despite these widespread associations, and the increasing prominence of this sensibility in contemporary fin e art practice, delicacy as an aesthetic and critical phenomenon in drawing remains critically underexplored. The research project; of which this thesis is part, examines qualities of delicacy in detail through practice as research - the making of art works- and a scholarly investigation of contemporary concerns in drawing. The aim has been to enrich our understanding of graphic encounters, sharpen and refine our language and add substance and definition to what we understand to be delicacy. The project uses comparative material drawn from case studies in costume conservation, archaeology and medicine in order to identify shared practices in negotiating the delicate, an approach which has bought into focus values of delicacy in drawing. As a result, new forms of drawing have been developed to expand existing graphic languages, which negotiate the poetic and intellectual understandings of delicacy. In doing so they give form and definition to what may be considered as a specific aesthetic category of delicacy. The study argues that delicacy is a hermeneutic and ethical concern, both a quality of certain objects and a phenomenal, experiential quality of life which describes our uncertain and intimate concerns. The forms of drawing developed have the ability to make this palpable. As a result, drawing is presented as useful and transferrable re search tool for accessing and analysing particular qualities of lived experience
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Neal, Allison R. B. "An examination, through drawing, of the text of Gilgamesh, and how translation and transcription can inform contemporary drawing practice." Thesis, University of Gloucestershire, 2017. http://eprints.glos.ac.uk/6081/.
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This PhD began by attempting to locate the Epic of Gilgamesh within a contemporary landscape and using a comparison of Michael Ayrton and Sidney Nolan as a means of creating a body of narrative based drawing. Initial work, however, illustrated rather than illuminated the text. As the research evolved, analysis of the text as a model for thinking and the different approaches to landscape from Ayrton and Nolan, clarified that the metaphorical journey of Gilgamesh required a different drawing practice. The Epic of Gilgamesh was written in cuneiform script on clay tablets some four thousand years ago. The fragmented and incomplete tablets have survived by chance. Failure, evident in Gilgamesh’s quest, suggested exploring contingency and failure as agents of creative practice. The opportunity to draw directly from the clay tablets in the collection of the British Museum generated the insight that the apprehension of physical objects and their recording as image through drawing, also works as a process of visual translation. The original clay tablets became a source for making drawings possessing a physical equivalence beyond the normative approaches to translation and narrative. This was the central aspect of the final research, superseding the narrative drive that had been the original starting point. Models of working allusively with narrative and landscape were also provided by unique access to the archives of Sidney Nolan at The Rodd, in Herefordshire, and by analysing in parallel the work of Michael Ayrton. This aspect of the research developed as a way of asserting that in the liminal space of the studio, equivalence can be found with the complex and contingent aspects of quest narrative as exemplified by Gilgamesh. Working large scale, the final works produced for this PhD explore translation and transcription in drawing through the surface accretions of material, gesture, intuition and fold.
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Tian, Hengcun Joseph. "Forgiving the unrepentant a theological analysis drawing on classical and contemporary sources /." Theological Research Exchange Network (TREN), 2006. http://www.tren.com/search.cfm?p029-0650.
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Blair, S. "The language of narrative drawing : a close reading of contemporary graphic novels." Thesis, University of the West of England, Bristol, 2013. http://eprints.uwe.ac.uk/22645/.
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The study offers an alternative analytical framework for thinking about the contemporary graphic novel as a dynamic area of visual art practice. Graphic narratives are placed within the broad, open-ended territory of investigative drawing, rather than restricted to a special category of literature, as is more usually the case. The analysis considers how narrative ideas and energies are carried across specific examples of work graphically. Using analogies taken from recent academic debate around translation, aspects of Performance Studies, and, finally, common categories borrowed from linguistic grammar, the discussion identifies subtle varieties of creative processing within a range of drawn stories. The study is practice-based in that the questions that it investigates were first provoked by the activity of drawing, and it sustains a dominant interest in practice throughout, pursuing aspects of graphic processing as its primary focus. Chapter 1 applies recent ideas from Translation Studies to graphic narrative, arguing for a more expansive understanding of how process brings about creative evolutions and refines directing ideas. Chapter 2 considers the body as an area of core content for narrative drawing. A consideration of elements of Performance Studies stimulates a reconfiguration of the role of the figure in graphic stories, and selected artists are revisited for the physical qualities of their narrative strategies. Chapter 3 develops the grammatical concept of tense to provide a central analogy for analysing graphic language. The chapter adapts the idea of the graphic ‘confection’ to the territory of drawing to offer a fresh system of analysis and a potential new tool for teaching. The conclusion identifies the study’s contribution to knowledge as twofold: first, in presenting a range of new interpretations of its field; and, second, in its employment of specifically adapted research methods which connect with a wider call for a return to ‘close reading’ as a productively sensitive research tool in its own right.
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Ellul, Hannah. "Picturing politics : drawing out the histories of collective political action in contemporary art." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/20532/.
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This project explores the appropriation of images of political upheaval in contemporary art, with a particular focus on artists who painstakingly draw from photographs. It is a project informed by contemporary debates on the convoluted temporality and performativity of the image, the aesthetic and affective dimensions of political subjectification, and forms of political agency. The drawings of artists including Andrea Bowers, Fernando Bryce and Olivia Plender, discussed here, elaborate a piecemeal, meticulously-drawn iconography of protest. Photographs and documents of emancipatory political struggle from different periods and places are reworked by hand, in acts of salvage. Something like an affective atmosphere is limned in scenes and artefacts that may not have lost their capacity to move but nonetheless seem remote today, the collective political desire and will they evoke overwhelmed by the disconcerting vicissitudes of sociopolitical circumstance. In light of the long and complex histories of art’s engagement with the political, and the many and various modes of reciprocity devised along the way, what does it mean to be preoccupied with images of political action? To ask as much is to begin to address the complex ways in which such images intersect with and shape processes of political identification and affiliation, the emergence of collective subjectivity and the desire for political agency. Moreover, it is to speculate upon how these processes take place in a negotiation with the often obscure histories of collective action, and how such histories inform renewed efforts of political imagination. What attachments or detachment are played out in these drawings? What choreographies of binding and unbinding are traced in these lines?
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Howell, Audrey. "The Biomorphic Grotesque in Modernist and Contemporary Painting." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/327.
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This paper looks at the concepts of the biomorphic and grotesque in art from the start of the 20th century to the present with a focus on painting and drawing. Included in the discussion of the grotesque throughout history are the works of Dadaist Otto Dix, painter Georg Baselitz, and feminist artists Judy Chicago, Hannah Wilke, and Ana Mendieta. Each used grotesque imagery to comment or react to a larger sociopolitical issue. Biomorphic artworks from the 20th century are mentioned as well, with specific examples of work by Lee Krasner, Willem DeKooning, and Hans Bellmer. These artists together start to illustrate the ways biomorphic and grotesque imagery can be used to explore physical gesture, inspire a visceral reaction in the viewer, and make societal critique. These themes are currently being explored by contemporary artists Jenny Saville, Wangechi Mutu, Inka Essenhigh, Cecliy Brown, Elizabeth Murray, and Maria Lassnig, each of whom is discussed in detail. Their work explores the boundary space between the body and hybridity, impurity, or abstraction, each in their own way. Following this discussion the author’s own paintings and drawings are mentioned, including dialogue detailing the thought process behind each one. Photographs of these works are included.
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Maupoint, Micheline E. "'Un Bon Dessin Vaut Mieux Qu'un Long Discours' : the role and impact of cartoons in contemporary France." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/2369/.
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Cartoons have traditionally occupied an important place in French visual culture, and are now a permanent feature in even the most prestigious publications, including Le Monde, where they appear on the front page. Moreover, there is a long tradition of political cartooning which is firmly situated within the historical context of caricature and lampooning, which over the years has contributed to public debates on key issues such as politics, religion and social change. In this thesis, I focus on political cartoons and argue that the political cartoon is still significant as a cultural product and as a powerful journalistic medium at a time when the existence of the print media is threatened by new technological developments. In order to understand how cartoons remain a powerful mode of expression in the twenty-first century, I begin by examining the historical development of cartooning, tracing its origins in grotesque art, physiognomy and caricature. I then explore a number of events in early modern European history such as the Reformation and the French Revolution to show that the medium was used as a means of mass communication, to inform a largely illiterate public, incite protest and instigate rebellion through propaganda. I show how political graphics were used as effective political weapons against the ruling authorities, in the face of tight regulation such as censorship, and underline the French artists' commitment to defend their right of expression. As I demonstrate, this commitment continues to be pursued by contemporary French cartoonists such as Plantu who is dedicated to fighting for freedom of expression and promoting peace issues, under the banner of Le Monde and the United Nations. In analysing a corpus of Plantu's editorial creations, I underline theoretical perspectives for ‘reading' cartoons and illuminate the visual rhetoric used by cartoonists to communicate serious issues. I conclude with an assessment of the significant role that French cartoonists played during the 2006 Cartoons War to further highlight the impact of cartoons as a vehicle for political communication, and as a catalyst for debate in the twenty first century.
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Alaluusua, Elisa. "Sketchbooks : a comparative analysis of the use of sketchbooks by contemporary artists." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12167/.
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This qualitative research project aims to gain a theoretical and practical understanding of what role sketchbooks play in the creative practice of contemporary artists, and what their shared and individual sketchbook methods are. A comparative analysis of thirteen contemporary artists’ sketchbook practices is offered. During the course of the research the private and public nature of sketchbooks emerged as an important and engaging area of inquiry that helped narrow the focus of the research process and offered an entry point for the analysis. The methodology used was fundamentally that of artistic research that drew heavily upon the characteristics of artistic practice in the field of drawing; as well as from hermeneutics, (auto)ethnography, and phenomenological analysis, each of which informed my practice and processes. This research aims to be useful for those conducting research into sketchbooks, drawing, drawing and writing, the nature of artistic process, creativity and pedagogy. The outcomes of this research are presented in two parts, in the thesis text and the documentation of an exhibition. In the final analysis the outcome is a multi - layered and multi - voiced story that identifies individual and shared practices used by contemporary artists during the compilation of their sketchbooks. Both the research and resultant artwork aim to bring to the foreground the largely overlooked public aspect of the sketchbook and contribute to knowledge in the fields of drawing research, video installation art, archival research and interviewing in the context of artistic research. Throughout the project I used drawing and video practices as methods of investigating, interrogating and disseminating knowledge. Thirteen contemporary artists’ interviews were recorded as a core element of the primary research, then reconfigured as an artwork / video installation called Thirteen Narratives By Thirteen Artists About Their Sketchbooks.
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Li, Wenmin Art College of Fine Arts UNSW. "Reaching likeness through unlikeness: the interpretation and application of busi zhi si in contemporary drawing." Awarded By:University of New South Wales. Art, 2009. http://handle.unsw.edu.au/1959.4/44347.
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This research started with the question of how a contemporary artist could draw an object with its form and essence in a similar way to that of Chinese traditional artists. It is based on the exploration of the interpretations of busi zhi si 不似之似 (likeness of unlikeness), which has searched for the answers to a question how it is possible to interpret and apply the concept of ??likeness?? and ??essence?? of an object as depicted by Chinese traditional artists. More importantly, it has led to a process in which a contemporary artist endeavours to apply a particularly traditional concept to contemporary drawing practice properly. It is this approach towards Chinese aesthetics and philosophy with proper attitudes, which has greatly oriented the research in terms of its methodology. The focus of this research has been on the application of the designed methods, including the implementation of the methods in drawing, evaluation of the outcomes and reflection of the evaluation in practice. This written work serves as documentation and explanation of how this process has been carried out, as drawing has been the major component of the research. Chinese traditional learning method has been interpreted philosophically in this research in order to set up the practical methods to reach the main goal of depicting the essential likeness of the object. However, due to the various mediums being employed, distinctive from Chinese traditional medium, the Chinese learning methods have been interpreted as being imitations of the traditional way of depicting the objects. Three aspects in depicting the object, which are observation, outer likeness and interpretative likeness, have been studied in relation to Chinese aesthetics. This process of research has provided a means to build a bridge between Chinese and western aesthetical grounds on depictions of the likeness and essence of an object. The promising future of this ongoing research therefore seems to be more exciting to drawers with particular interests in applying aesthetic concepts in practice.
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Saorsa, Jac. "Drawing as a method of exploring and interpreting ordinary verbal interaction : an investigation through contemporary practice." Thesis, Loughborough University, 2004. https://dspace.lboro.ac.uk/2134/2805.
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The primary research question for this project: whether drawing practice could be used as a method with which to explore and interpret ordinary verbal interaction, was derived from a philosophical concern as to the nature of the relation between our meaningful engagement with the art object, and our inherent predicament as human beings in a social world. The research was carried out in the manner of a reflexive exploration through drawing practice. Adhering to the principles of Grounded Theory, the research strategy was considered hermeneutic in that it was rooted in interpretative understanding. Series of drawings generated by the author were developed, as an integral part of the research process,from an initially creative and intuitive response to primary and secondary data:original conversations, audio recordings and written transcriptions respectively. The analysis constituted a continuous development of initial sketches, through tracings and overlayerings, to large-scale works. Linguistically orientated methodological approaches, derived primarily from the social sciences and including Content,Linguistic-Syntactic and Conversation analyses, were used continuously with the drawings in a comparative analysis procedure that explored equivalences between verbal and visual ?texts?. The research culminated in a Pragmatic analysis of viewers?responses to defined sets of drawings, demonstrating that far from being an isolated and subjective phenomenon, the experience of art could be understood inhermeneutic terms as a profound dialogical achievement, relative to the achievement that is definitive of a casual conversation. In accordance with the hermeneuticcharacter of the process as a whole, reflexive content in the research was considered a crucial factor throughout the analysis and conclusions focused on emotion,meaning and interpretation more than on cognitive research issues of artistry or perception. In terms of new knowledge, this project demonstrates a self-reflexive enquiry by means of drawing practice and its analysis as an original form of research. Thepotential for further work is consequently based on the development of themethodological approach in fields other that the fine arts, so that drawing practice, as well as fulfilling aesthetic ambitions and/or intentions, can also be considered a useful research tool.
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Peyramayou, Virginie. "Dessiner : le geste, l'outil et le sujet dans le dessin contemporain." Thesis, Toulouse 2, 2019. http://www.theses.fr/2019TOU20073.
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Cette thèse est intitulée : « Dessiner : le geste, l'outil et le sujet dans le dessin contemporain ». Cette réflexion est liée à une pratique personnelle et à un questionnement sur le médium du dessin, particulièrement valorisé aujourd'hui dans l'art contemporain. Elle s'appuie sur une pratique artistique du dessin au fil représentant des espaces utopiques sur divers supports. Ma recherche théorique questionne la définition du dessin au vu de la pluralité des propositions actuelles. Ainsi, cette recherche analyse des pratiques bouleversant les limites de ce médium depuis les années 1960 à nos jours. Le cheminement de cette recherche explore le marqueur temporel contemporain, le sujet et l'exposition du dessin. Cette thèse engage la réflexion sur l'action de dessiner avec des pratiques s'éloignant des outils traditionnels. Ces gestes, parfois empruntés à d'autres techniques, tels que plier, coller, froisser, brûler, broder, déposer ou encore déchirer, participent à un renouvellement plastique du dessin et mènent à reconsidérer sa définition. Qu'amène la réinterprétation du geste de dessiner ?This thesis is entitled: "Drawing: the gesture, the tool and the subject in contemporary drawing". This reflection is linked to a personal practice and a questioning on the medium of drawing, particularly valued today in contemporary art. It is based on an artistic practice of drawing with wire representing utopian spaces on various supports. My theoretical research questions the definition of drawing in view of the plurality of current propositions. Therefore, this research analyzes practices that have upset the limits of this medium since the 1960s to the present day. The path of this research explores the contemporary temporal marker, the subject and the exhibition of the drawing. This thesis engages reflection on the action of drawing with practices moving away from traditional tools. These gestures, sometimes borrowed from other techniques, such as bending, sticking, crumpling, burning, embroidering, filing or tearing, participate in a plastic renewal of the drawing and lead to reconsider its definition. What brings the reinterpretation of the gesture of drawing?
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Teixeira, Guilherme Sertório. "Cartografia figurada - atlas e caderno de campo." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-08112010-121122/.
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Cartografia figurada Atlas e Caderno de Campo é o resultado da pesquisa de Mestrado que tem por objeto a produção artística de Guilherme Teixeira entre os anos de 1999 e 2010. O projeto artístico equivalente a uma dissertação de mestrado apresenta-se em duas partes: Atlas e Caderno de Campo. O Atlas é um pôster em que estão reproduzidos 58 trabalhos, oferecendo ao leitor uma visão panorâmica da produção estudada. Cerca de uma centena de outras imagens estão impressas em cartões, organizados em seis bolsos transparentes. Caderno de Campo reúne textos, em forma de comentários, relacionados aos trabalhos e projetos apresentados no Atlas.Figurative Cartography Atlas and Field Notebook is the result of the Master research focused in the artistic production of Guilherme Teixeira between 1999 and 2010. This artistic project equivalent to a dissertation is made up of two parts: Atlas and Field Notebook. Atlas is a poster that shows pictures of 58 artworks disposed in a panoramic view. The reader can handle about a hundred images, available in six transparent pockets. Field Notebook shows texts, as personal annotations, related to the works and projects printed in the Atlas.
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Marnewick, Benjamin Meiring. "Drawing on/from a mirror : a self-reflexive study of the representation and perception of violence in contemporary film." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6582.
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Thesis (MA)--University of Stellenbosch, 2011.ENGLISH ABSTRACT: The cinematic communication process starts with the creative enunciation by the filmmaker and ends with the viewer's subjective perception of the film. This thesis represents a theoretical and experiential investigation of this process and entails critical and self-reflexive discussions of stylistic approaches to filmic representation. The focus of this representation falls on on-screen violence. This study is a practice-led process, and therefore the fields of research are applied to my own work, namely the filmmaking process of a feature film entitled Preek. The research was prompted by my need to take an academic stance on the filmmaking process, instead of a mere practical one, and to form an intellectual awareness of the filmmaker and viewer dynamic. As a practicing filmmaker interested in the mimetic quality of film representations, it was necessary for me to form a conscious apprehension of how a film may be understood as a reflection on reality on the one hand, and an expression formulated through the filmmakers creative decisions on the other. The representation of violence in film was investigated by the way of critical readings of selected films, framed by both contemporary and classical film theory. Through contemporary film theory, I investigated the viewer's perception and identification with the film's diegesis, and particularly with its characters. The „classic‟ film theories of the realists and formalists allowed me to discern two stylistic approaches to the representation of violence in film, and to explore the emotional affect and cathartic release these approaches may elicit from viewers. These discussions were then applied to my own film Preek, in order to critically understand the relationship between filmmaker and viewer. The research and the application thereof, indicated that the stylistic approach to the representation of violence and its intensity in a film, unveils the filmmaker's motivation for communicating through the film medium. The arguments showed that I represented the violence in Preek in such a way that it may result in a traumatic affect on the viewer rather than an appreciation of its aesthetic value, and that this affect is the result of an engagement with the film's diegesis, due to the viewer's own identificatory participation. The research concluded that the viewer's subjective identification with the film forms a triangular relationship and communication between filmmaker, film and viewer.
AFRIKAANSE OPSOMMING: Die kinematiese kommunikasieproses begin met die kreatiewe uitdrukking van die filmmaker, en eindig met die kyker se subjektiewe waarneming van die film. Hierdie tesis verteenwoordig 'n teoretiese en ervaringsgerigte ondersoek van die kinematiese kommunikasieproses, en behels kritiese en self-reflektiewe argumente van stilistiese benaderings tot filmiese uitbeelding. Die fokus van hierdie uitbeelding is op geweld gerig. Die navorsing is 'n prakties-georiënteerde studie en daarom word die navorsing op my eie werk toegepas, naamlik die filmmaak-proses van die vollengte film, Preek. Die navorsing was aangespoor deur my behoefte daaraan om die filmmaak-proses vanuit 'n akademiese oogpunt te benader, in pleks daarvan om 'n suiwer praktiese posisie teenoor die filmmaak-proses in te neem. Vervolgens is die navorsing aangespoor deur my behoefte daaraan om intellektuele bewustheid oor die dinamika tussen die filmmaker en kyker te skep. As 'n praktiserende filmmaker wat geïnteresseerd is in die mimetiese eienskap van film-uitbeeldings, was dit vir my belangrik om 'n duidelike begrip te ontwikkel van die manier waarop film verstaan kan word, eertstens as 'n weerspieëling van realiteit, en tweedens as ‟n uitdrukking wat deur die kreatiewe besluite van die filmmaker gevorm is. Die verteenwoordiging van geweld in films is ondersoek deur middel van die kritiese beskouing van uitgesoekte films wat deur beide kontemporêre en klassieke film-teorie gevorm is. Ek het deur kontemporêre film teorie die kyker se waarneming en vereenselwiging met die film se diegesis en veral die film se karakters, ondersoek. Die klasieke film teorieë van die realiste en formaliste het my in staat gestel om tussen twee stilistiese benaderings tot die uitbeelding van geweld in film te onderskei, en om die emosionele effek en katartiese vrystelling wat hierdie benaderings by die kyker kan ontlok, te verken. Hierdie besprekings is gevolglik toegepas op my film, Preek, ten einde 'n kritiese begrip van die verhouding tussen filmmaker en kyker te vorm. Die navorsing en die toepassing daarvan het getoon dat die stilistiese benadering tot die uitbeelding van geweld, asook die intensiteit daarvan in film, die filmmaker se motivering tot kommunikasie deur die film-medium ontbloot. Die argumente het getoon dat ek die geweld in Preek op so 'n manier uitgebeeld het dat dit 'n traumatise affect op die kyker kan hê, in pleks van 'n waardering vir estetiese. Die argumente het verder aangedui dat hierdie effek die resultaat is van ‟n betrokkenheid by die film se diegesis, en dat dit te danke is aan die kyker se deelname aan vereenselwiging. Die navorsing het die slotsom gekom dat die kyker se subjektiewe identifikasie met die film 'n drieledige verhouding tussen filmmaker, film en die kyker vorm.
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Fries, Katherine. "Ariadne's thread - memory, interconnection and the poetic in contemporary art." Connect to full text, 2008. http://hdl.handle.net/2123/5709.
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Thesis (M.V.A.)--University of Sydney, 2009.Title from title screen (viewed November 26, 2009) Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts, University of Sydney. Degree awarded 2009; thesis submitted 2008. Includes bibliographical references.
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Tuxill, Wendy Patricia. "A re-conceptualisation of contemporary sculptural ceramics practice from a post-minimalist perspective." Thesis, University of Hertfordshire, 2011. http://hdl.handle.net/2299/5333.
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This thesis examines the extent to which the 1960s process art strand of post-Minimalism can provide an analytical template for critical writing around contemporary ceramic art. A dearth of critical writing is an acknowledged problem in all types of ceramics practice and some of the reasons for this situation will be explored. In the past decade frequent calls have been made by artists, critics, academics, and curators for a body of critical writing to underpin contemporary work and connect with wider cultural debates. During this period, artists have begun to use the process of making the work to form part of the content. Such work has no relationship to traditional studio pottery, and critics have described it as difficult to write about and classify in normative ceramic terms. However, this area of ceramic practice shares characteristics with post-Minimalism, a movement of the 1960s that emphasised the behaviour of materials and the act of making. In The Archaeology of Knowledge the French philosopher Michel Foucault suggests that a new critical language may emerge from the appropriation of other discourses, providing new interpretations for subject areas not yet theoretically mapped out. Foucault’s notions on the formation of discourse are used as a methodological approach to investigate how process-led sculptural ceramics may be articulated by an understanding of post-Minimalist critical writings. A substantial body of critical writing developed around post-Minimalist process art, providing a context for radical new approaches which broke with modernist traditions and which expanded and changed traditional definitions of sculpture. Key post-Minimalist texts are investigated as an analytical template for a new critical discourse for process-led ceramic art. A study of the sculptural ceramics of Richard Deacon and Kosho is undertaken as a means of identifying process-led tendencies and the possibility of a re-conceptualisation from a post-minimalist perspective. An analysis of the role of process within my own practice is used to provide visual evidence of contemporary ceramic work that can be re-conceptualised from a post-Minimalist perspective. After twenty years of stagnant debate in the ceramics field, this research might provide a new critical context for process-led ceramic art. The project shows a way that artists may be empowered to develop a critical literacy in a field that has traditionally lacked a research based approach. It is hoped that it may well encourage other ceramics practitioners to explore new ways of presenting an academic critique of their own area of practice. The contribution to knowledge identifies a new critical context and approach to writing for the process-led area of ceramics practice that is currently described as being difficult to write about, as having no appropriate critical language of its own, and of being difficult to categorise in standard ceramic terms.
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Rezende, Luiza Crosman de. "Tudo é um: fluxo entre desenho e verbo." Universidade do Estado do Rio de Janeiro, 2014. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=8766.
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Fundação Carlos Chagas Filho de Amparo a Pesquisa do Estado do Rio de JaneiroNesta Dissertação, investigo o conjunto de desenhos que denominei desenhos-conceitos e que constituem-se como uma prática processual da minha atuação enquanto artista. Tal investigação é percorrida através de seis tangentes transdisciplinares na tentativa de estabelecer pontos de contato entre a prática do Desenho e outras práticas contemporâneas investigativas do conhecimento humano. São elas: Tangente Diagramas, Tangente Cosmologia, Tangente Desenhos, Tangente Linguística, Tangente Lógica/Matemática e Tangente Escritura. A pesquisa procura estabelecer uma maior proximidade entre teoria e obra apresentando-se como texto dissertivo e também como a elaboração de um Fichário. Neste Fichário o léxico dos desenhos-conceitos é apresentado em conjunto com uma série de anotações que permearam a investigação e ambos, desenhos-conceitos e anotações, configuram-se como pontos-chave para a formação da arquitetura conceitual do léxico. Tanto o texto dissertivo quanto as anotações e desenhos presentes no Fichário tecem indagações acerca da relação entre o espaço-tempo e o corpo daquele que performa ações. A pesquisa conclui na abertura de novos procedimentos práticos, através da ideia de performatividade na realização de ações, com as obras Desire to communicate e Obscena.
This dissertation investigates a set of processual drawings that constitute a part of my artistic process, which I denominated concept-drawings. This investigation is made through six transdisciplinary tangents, in an attempt to establish points of contact between the practice of drawing and other contemporary investigative practices of human knowledge. These tangents are: Tangent Diagrams, Tangent Cosmology, Tangent Drawings, Tangent Linguistics, Tangent Logic/Mathemathics and Tangent Scripture. The research also seeks to establish a closer relationship between theory and work of art presenting itself as text and as a Binder, in which the lexicon of concept-drawings are brought together with a series of annotations that were made throughout the research. Both concept-drawings and annotations are key points for the formation of the conceptual architecture of the lexicon. Together with the text, these annotations and drawings intend to question the relationship between the space-time relation with the body of he who performs actions. The research concludes with concept of performativity in the works "Desire to communicate" and "Obscena", openning new practical procedures within my process as an artist
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Mayers, Jonathan. "Transmutational Harmony." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1328.
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The work that I have produced during my graduate studies at the University of New Orleans addresses the impact that humans have on the environment in our contemporary world. A primary focus, but not exclusive, includes industrial materials or objects, their overwhelming presence that informs the juxtaposition of economic progress, and the reality of environmental disruption. Humor and metaphor are central themes of my work and reference my personal observations and experiences of living in the midst of these environments. Sources from Contemporary underground art have been filtered through my exposure to studio practice and art history, mainly the autonomous processes of Surrealism, resulting in a variety of influences that inform my work. I present imaginary images of architectural, biological, and mechanical transformations with the hopes of nudging the viewers' expectations and to create a better understanding of my opinion pertaining to the world and reality we all live in.
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Guedes, Marina Valerio. "Apagamentos e contudências : desenho, fotografia e memória." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/87677.
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O presente trabalho é resultado de uma pesquisa de mestrado em poéticas visuais. Nele exponho depoimentos do processo de construção plástica e reflexiva, que se apoiam na busca por fotografias vernaculares para a elaboração de desenhos. Estabelecendo relações entre as duas linguagens, busquei tramar ambas de forma que constituíssem um pensar sobre a memória e seus caminhos narrativos através do ato de apagar, fazer e desfazer linhas traçadas pelo grafite.The present work is a result of a master degree in visual arts. In which I bring up my testimonials about my reflective and plastic construction process, that supports itself in the search for vernacular photographs that will generate drawings. Setting relations between the two mediuns, I try to plot them in a way that would constitute a reflexion about memory and its narrative paths through the act of erasing, making and unmaking drawn lines by graphite.
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Alkandari, Fahad A. H. H. "Islamic ceramic ornamentation and process : proposals for a new aesthetic vocabulary in contemporary architectural embellishment within kuwait." Thesis, University of Central Lancashire, 2011. http://clok.uclan.ac.uk/2800/.
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Islamic architecture is arguably one of the greatest manifestations of Islamic visual culture. One of the defining aspects of the unique, aesthetic richness of traditional Islamic architecture has been the application of ceramic ornamentation or embellishment. There is a growing concern, however, that this legacy is being eroded. The diminishing identity of Islamic visual culture is particularly evident through current architectural developments occurring in the Arab states. The building revolution in the Gulf countries has dramatically increased momentum since the onset of the ‗oil economy‘, echoing the phenomena of globalization. This research project explores these concerns, discussing the erosion of Islamic ‗identity‘ within contemporary architecture in the Gulf States and in particularly Kuwait, as well as the ensuing decline in the use of ceramics as a defining embellishment material. The research compares the aesthetics of traditional and contemporary Islamic architectural design, whilst also examining the reasons behind this erosion in traditional design style. The diminishing identity of Islamic visual culture is investigated by combining studies in the fields of art, aesthetics, design, architecture, and the social sciences, in order to understand the nature of the research problem. A series of case-studies demonstrates how ceramics may be used to re-introduce a sense of Islamic identity within contemporary architecture. This offers design proposals, new materials and technical processes that acknowledge the rich traditions of Islamic Ceramics while also being appropriate for application within the context of contemporary Islamic architecture detailing; blending contemporary aesthetics and technical thinking with traditional Islamic design. The aim of the case-studies is to offer proposals for a new aesthetic vocabulary of architectural embellishment that is both appropriate to and innovative within, the context of contemporary Islamic architecture. This new aesthetic vocabulary III specifically blends contemporary design principals, new materials and technical processes, whilst acknowledging the rich traditions of Islamic ceramics. The PhD project, applies two types of research methodology: theoretical research and practice-based research. The former focused on social sciences and applied quantitative and qualitative research approaches, including surveys and interviews undertaken within Kuwait. The findings obtained from these surveys verified the emergence of a new cultural style of contemporary architecture and shaped the practice-based element of the project; proposals for ceramic embellishment that are contemporary, while still reflecting many recognizable aspects of traditional Islamic design. The new architectural style can be attributed to factors such as globalization, the adoption of international building styles, and a seeming unwillingness to incorporate traditional styles into new building design, all of which contribute to the currently weak identity of Arabic / Islamic ceramics within Kuwait. Despite of this, the survey revealed that Kuwaiti society maintains a strong relationship and affiliation with Islamic culture, although many seemed unaware of their own rich culture and its past legacy. The practice-based research involved two distinct phases. The first phase involved the development of a large number (172) of new glazes. The glazes were intended to reflect the palette of colours used over generations of Islamic Ceramic culture, while still being appropriate for integration within the contemporary Islamic architectural environment. The second phase of practice involved a series of case studies, embracing a wide range of contemporary architectural ceramic design processes (including 2 and 3 Dimensional geometrical patterns and interpretations of contemporary calligraphic design). The case studies utilised a number of modern technologies, such as 3D Solid modelling, CNC Rapid Prototyping and Laser-cutting, to prove that modern design and manufacturing technologies can be integrated within traditional ceramic processes. The aim being to both provide ceramic products that architects and designers can use to enhance the modern IV architectural environment of Kuwait and re-establish the creative status of ceramics.
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Fujimoto, Cesar Yoichi. "Do tijolo à paisagem: um estudo para a construção de um ponto de vista." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-12012016-113048/.
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Nas páginas desta pesquisa aborda-se as características construtivas relacionadas à visualidade dos trabalhos desenvolvidos à partir de 2004 e estabelece intersecções entre arte, arquitetura e paisagem. Realizada em duas frentes, teórica e prática, a parte inicial da pesquisa destina-se a uma revisão de um modus operandi através de uma leitura crítica do contexto histórico, com especial destaque ao minimalismo. O conjunto de trabalhos visa articular a noção de lugar a partir de gestos construtivos, com a intenção de evocar formas poéticas que sugerem pontos de vista sobre uma paisagem.The pages of this research discuss the constructive approach related to the visuality of the artworks developed since 2004 and establish intersections between art, architecture and landscape. Developed in two fronts, both theoretical and practical, the initial part of this research is meant to a review of the modus operandi through a critical reading of the historical context, specifically observing the minimalists. The selected artworks articulates the notion of place through the constructive gesture, with the intention to evoke poetic forms, suggesting certain views of a landscape.
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Herzog, Vivian. "Desenho : reservatório de vestígios." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/28888.
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A presente pesquisa foi elaborada a partir da minha produção prática em desenho realizada no período de 2009 a 2011. Trata-se de uma reflexão, que busca abarcar a formação dos trabalhos, transcorridos por referências, tais como os documentos de trabalho que englobam as coleções de desenhos e os registros diários. O objeto de pesquisa refere-se à elaboração de reservatórios gráficos formados por múltiplos desenhos que condensam vestígios/experiências e materiais. A pesquisa reuniu considerações sobre as diversas instaurações que envolvem as escolhas materiais, as camadas do fazer e a montagem.This research was drawn from my practice production in drawing performed in the period from 2009 to 2011. This is a reflection that seeks to encompass the formation of the works, which pass by references such as the working papers including the collections of drawings and the daily entries. The research object concerns the development of graphical shells that are formed from multiple drawings that condense trace/experiences and materials. The survey gathered considerations on the various instaurations which involve the material choices, the making layers and the installation.
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Schmidt, Mônica Sofia da Rosa. "O desenho como caminho." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/87673.
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A presente pesquisa tem como ponto de partida minha produção em desenho desenvolvida a partir de 2009. Observando minhas estratégias de ação busco estabelecer relações entre desenho, documentos de trabalho e processo criativo, fundamentando-as sob as diretrizes de referenciais teóricos. Assim sendo, o objeto desta pesquisa está centrado no desenho e seu processo de criação. O estudo investigou desdobramentos como o conceito do gênero paisagem aqui definido como intervenção poética para uma crônica gráfica.This present research has as starting point my production in drawing developed from 2009. Observing my action strategies I seek to establish relationships between drawing, working documents and creative process supporting them under guidelines of theoretical referential. Therefore, the object of this research is focused on the drawing and on its creation process. The study investigated unfoldings, like concept of the landscape genre, defined here as poetic intervention for a graphical chronic.
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Sousa, Márcia Regina Pereira de. "Reter o breve : de casas que brotam, desenhos que proliferam e coletas que tocam o tempo." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/158049.
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Estas pesquisa em poéticas visuais orienta-se para o campo de estudos Arte e Natureza relacionando desenho, gravura, fotografia e elementos naturais organizados em instalações efêmeras. Os tabalhos poéticos realizados estão relacionados à observação de formas orgânicas presentes na natureza, à coleta de elementos vegetais e especialmente ao surpreendente encontro com casas e lugares que brotam. A investigação detém-se sobre conceitos como a organicidade, a efemeridade, a fragilidade e a lentidão, propondo a delicadeza como resistência a um entorno acelerado e por vezes pouco sensível. Os trabalhos são abordados da perspectiva de seus processos, ao considerar os cadernos e outros documentos manuscritos como registros fundamentais para a elaboração do pensamento poético que norteou toda a pesquisa. Assim proponho com o volume impresso de tese a apresentação de uma investigação em fluxo. Em minha escrita estabeleço diálogos com a botânica, com a literatura, com o cinema e com a filosofia.This research in Visual Art explores the Art and Nature field of study, combining drawing, printmaking, photography and natural elements to build ephemeral installations. The artworks produced are related to the observation of organic forms present in nature, with the collection of plant specimens, and especially with the surprising encounter with growing houses and places that sprout. The investigation focuses on concepts such as organicity, ephemerality, fragility and slowness of time, proposing delicacy as resistance to accelerated and sometimes insensitive surroundings. The artworks are approached from the perspective of their processes, considering the notebooks and other manuscript documents as fundamental records for the construction of the poetic thinking that guided the entire research. Thus, I propose with the printed volume of the thesis, an investigation that is in flux. In my writing I establish dialogues with botany, literature, cinema and philosophy.
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Gomes, Noémia Herdade. "Desenho: interacções e extensões no processo, projecto e obra artística. Estudo de caso: William Kentridge = Dibujo: interacciones y extensiones en el proceso, proyecto y obra artística. Estudo de caso: William Kentridge." Doctoral thesis, Universitat de Barcelona, 2011. http://hdl.handle.net/10803/403711.
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Este título está constituido por dos partes que se integran en una sola. La primera - Dibujo: interacciones y extensiones en el proceso, proyecto y obra artística – y la segunda - la obra del artista WK como estudio de caso. Invirtiendo este orden, WK tiene como punto de salida en su proceso creativo el uso del dibujo, que trabaja de forma abierta e incierta. El dibujo es usado para pensar, para representar y para leer las imágenes en un orden que el propio proceso establece. Es en esta red de asociaciones anacrónicas que se establecen las interacciones produciendo extensiones del proceso creativo. De este modo, las interacciones suponen reacciones o estímulos que se desarrollan en transposiciones técnicas para otros contextos y sistemas tecnológicos.
Estas extensiones superan el objetivo limitado al dominio de la escala en la bidimensionalidad para atribuirle nuevos campos mentales y operativos. Con la introducción de una tercera dimensión, el espacio - dibujo tridimensional y de una cuarta dimensión, el tiempo - dibujo dinámico, es posible colmatar la dimensión holística de la obra de arte total.
El presente trabajo no deberá ser evaluado en el contexto de los ensayos (históricos, críticos y estéticos) hasta ahora realizados sobre la obra de este artista, sino como reflexión de quien dibuja y enseña el dibujo en el contexto de la formación artística y creativa. Naturalmente, la convergencia del estudio sobre los procesos gráficos de WK asegurará a esta obra una competencia y relevancia metodológica que contribuirá también para el estudio general de la obra de uno de los mayores artistas de inicios del siglo XXI.
En resumen, se reclama como objetivo de este esfuerzo técnico la consideración del soporte tecnológico como medio procesal de innovación fundado en una decena de modelos técnicos que se constituyen como agentes de cambio operando una transformación material, pero sobre todo simbólica, en el proyecto artístico a que genéricamente designaremos por tecnologías creativas.
Esta tesis abarca un período de 40 años de producción artística de WK, (iniciándose en la década de 1970 hasta el año de 2010, fecha en que el contacto directo con el artista en su ambiente de trabajo finalizó) e esta dividida em sete capítulos:
2º capítulo: BREVE CONTEXTO CRONOLÓGICO, expone el contexto cronológico del artista, desde los años de su infancia hasta su consagración;
3º capítulo: FUENTES REFERENCIALES: EXTENSIONES, CONTAMINACIONES Y ARTICULACIONES,
consta de un ensayo sobre los referentes, las referencias y las fuentes predominantes en la producción artística de WK, a lo largo del tiempo;
4º capítulo: DIBUJO - IMAGEN EN MOVIMIENTO: INTERACCIONES Y NUEVAS CONFIGURACIONES
GRÁFICAS, trata de la imagen en movimiento, a través de una relación entre la historia de la imagen a lo largo de los tiempos y la producción gráfica del autor;
5º capítulo: DIBUJO - PROCESO, PROYECTO Y OBRA: INTERACCIONES INSTRUMENTALES,
PROCESALES Y ACCIONES PERCEPTIVAS, hace un levantamiento cronológico desde los años de 1970 hasta 2010 de forma detallada, describiendo todas las estrategias (procesales) desarrolladas (los procesos creados) por WK durante su proceso creativo;
6º capítulo: CASO DE ESTUDIO CARNETS D’EGYPTE 2010, analiza en detalle el último proyecto acompañado en el taller del artista, identificando específicamente su constitución con posterior análisis interpretativo;
7º capítulo REPENSAR EL DIBUJO, pretende compilar críticamente las tecnologías creativas que abarcan conceptos, procesos y estrategias adoptadas en la obra de WK, a lo largo de su producción, trayendo nuevas lecturas y distintas aportaciones al dibujo como instrumento de creación.The work of William Kentridge, the internationally renowned south-African artist, constitutes the basis of this thesis dedicated to the study of the interactions and extensions in the process, project and works of art that can be achieved through the Drawing. The research, classification and organization of more than 5.500 documents, collected at the artist’s studio, under his supervision, organized into a database developed by this thesis’ author, allow for a more global perspective on the creative methodologies of William Kentridge. The observation of the above mentioned documents, together with a comprehension of their role on the development of Kentridge’s art work, allowed to distinguish a series of creative technologies that constitute, per se, an unusual set of mediums and procedures converging into unique creative results. These processes adopt the contribution of the technologies of photography and film, which are used together with other processes of drawing representation. This thesis aims at understanding drawing as high potential creative process by offering an analytical view on the creativity processes on the work of William Kentridge and how his work, departs from theatre and Opera to encompass other domains of artistic creation such as architecture and design.
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Polidoro, Marina Bortoluz. "Capturar, acumular, recombinar : sobre a espessura da imagem instaurada a partir de camadas." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/22817.
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Esta dissertação realiza uma pesquisa em artes visuais, na área de poéticas visuais e, como tal, a produção artística da autora é o ponto de partida. Os procedimentos empregados na construção dos trabalhos são revisitados, procurando compreender o processo de trabalho, as referências mais recorrentes (como documentos de trabalho) e suas implicações conceituais. O objeto de estudo desta pesquisa refere-se a espessura, física e conceitual, de imagens instauradas a partir da acumulação e sobreposição de fragmentos capturados. A pesquisa desencadeou reflexões acerca da apropriação e a conseqüente formação de uma coleção; a reordenação de fragmentos, a sobreposição e o apagamento como conceitos operatórios; e a imagem construída em camadas.This dissertation performs a research in visual arts, in the area of visual poetics, as such, the artistic production of the author is the starting point. The procedures used in the construction of the works are revisited, seeking to understand the work process, the most recurring references (such as working documents) and its conceptual implications. The object of this research refers to the thickness, physical and conceptual, of images produced from the accumulation and overlapping of captured fragments. The research triggered discussions about appropriation and the consequent formation of a collection; the reordering of fragments, overlapping and erasure as operational concept; and the image built in layers.
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González, Vera Francisco Daniel. "El dibujo, Génesis y Elucidación." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/315464.
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La estructura de esta tesis presenta ciertas particularidades que quisiera enumerar y aunar a la manera de una guía para su lectura, colocando en distancia y en escena los pormenores de un proceso que presentó altos y bajos en su elaboración, tanto conceptual como formalmente antes de constituirse en su forma definitiva.
He establecido un eje principal en el cual se sostienen los cuatro capítulos que conforman el total de ella. Presentando “los textos acopiados y escritos en la diversidad del tiempo de cimentación”. Un tiempo cronológico y un tempo de elaboración de las obras de dibujo personales, estos son los dibujos que anteceden a la construcción del texto. Estos últimos fueron escritos a partir de las lecturas de autores de disciplinas diversas, las ciencias humanas, por ejemplo, y las provenientes específicamente del espacio del arte. Con ellos, los artistas que están presentes en la tesis, se construye el borrador del Marco Conceptual o estudio del Estado del Arte.
La grilla en que se ubican los 22 textos y dos anexos de dibujos. El primero formado por la reproducción de las páginas seleccionadas de un carnet del año 2014; titulado: Canson One / en tren de construirse. El segundo, una serie de 7 dibujos titulados Pequeña Serie / Être Touché. 2015.
Los capítulos I y IV operan como apertura y cierre de un gran paréntesis que en su interior contiene los textos que desarrollan analíticamente el corpus general de la tesis. Un total de 17 textos agrupados en los dos capítulos centrales, Capítulos II y III. Son 5 textos en el segundo capítulo y 12 en el tercer capítulo.
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León, Luque José Ignacio. "Recorrido y conquista. Registros de una experiencia extranjera en la ciudad de Barcelona, 2016-2018." Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/667095.
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Se trata de una investigación que se desarrolla a partir de la práctica del dibujo a mano alzada in situ y su reflexión procedimental y funcional, considerados desde el punto de vista de la experiencia del autor, asumiendo así un enfoque subjetivo o desde una psicología respecto del habitar temporalmente en tanto extranjero la ciudad de Barcelona.
Sobre esta experiencia en una ciudad extranjera, para comprenderla y comprenderse en ella, se siguió una metodología que consideró la reflexión práctica y teórica a partir del trabajo de campo y de revisión/reflexión de bibliografía pertinente, considerando el recorrido como estrategia para su vivencia, asunto que reflexionamos desde una temporalidad que se construye a partir de secuencias e interrupciones, es decir, que se produce en duración.
Se registró in situ diversas zonas de la ciudad de Barcelona, mediante dibujos a mano alzada a partir de recorridos que se fueron definiendo o descubriendo al azar, los cuales constituyen y configuran una huella gráfica de observaciones e interpretaciones relativas a la percepción del espacio urbano, sus cualidades y características formales y de uso.
Mediante el recorrer y el dibujar para registrar, de la práctica y la teoría aunadas en una búsqueda que se fue ampliando y ramificando para aproximarnos a una imagen conquistada de la experiencia, se intentó dar cuenta del cómo se comprende, construye, expresa y organiza esta experiencia para ser comunicada.
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Rama, Jander Luiz. "(Im)prováveis : processos híbridos envolvendo o desenho técnico e a gravura na construção da metáfora do homem-máquina." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/79584.
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Nesta pesquisa, proponho trabalhos que consistem em desenhos de híbridos entre homens e máquinas, utilizando o desenho técnico e a figura do pós-humano como suporte para reflexão, metaforizando as relações entre o homem e sua tecnologia, e a substituição de parte das experiências cotidianas pelo uso da máquina. Tratam-se de imagens digitais e linoleogravuras que apresentam diálogos e tensões entre o artesanal e o tecnológico, bem como entre a figura humana e a figura mecânica. O embasamento teórico é estabelecido a partir de definições da filosofia da técnica de Gilbert Simondon em diálogo com apontamentos de Edmund Couchot e Vilém Flusser. Apontamentos sobre o ciborgue são debatidos a partir de Haraway, Santaella e Novaes. Hoelscher, Springer, Dobrovolny e Belofsky contribuem com referenciais históricos e definições sobre o desenho técnico, em diálogo com observações realizadas em registros de patentes de época. Ainda são abordadas obras de artistas como Stelarc, Albrecht Dürer, Da Vinci, Regina Silveira e Rubem Grilo, como referenciais poéticos que estabelecem relações com a presente produção plástica. Procuro, deste modo, estabelecer proposições dentro do campo da gravura, do desenho técnico e de linguagens híbridas, contribuindo para ampliar a construção do conhecimento no campo das artes visuais.In this research, I propose works that consist of hybrid designs for men and machines, using technical drawing and figure the posthuman as support for reflection, Indulging in metaphor the relationships between humans and their technology, and replacing part of everyday experiences when using machine. These are digital images and linoleum engraving which feature dialogues and tensions between craft and technology, as well as between the human figure and the figure mechanics. The basement is established by the theoretical literature from definitions of technical philosophy of Gilbert Simondon in dialogue with notes of Edmund Couchot and Flusser. Notes on the cyborg are discussed from Haraway, Santaella and Novaes. Hoelscher, Springer, Dobrovolny and Belofsky contribute with historical references and definitions of the technical drawing in dialogue with observations made in patent registers. Are still considered works of artists such as Stelarc, Albrecht Dürer, Da Vinci, Regina Silveira and Rubem Grilo as poetic references that establish dialogue with this plastic production. Try, thereby establishing propositions within the field of printmaking, technical drawing and hybrid languages, contributing to enlarge the construction of knowledge in the field of visual arts.
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Zurita, Rita Cássia Ribeiro. "Impressões da luz = articulações da luz, da cor e da forma no espaço." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284461.
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Orientador:Luise WeissAcompanha 1 CD-ROM e 1 Livro-objeto liluminado [14 f. de laminas]
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-18T10:28:31Z (GMT). No. of bitstreams: 1 Zurita_RitaCassiaRibeiro_D.pdf: 7902085 bytes, checksum: 752053fb512965e8ed1e19b298e5cd4c (MD5) Previous issue date: 2010
Resumo: A presente pesquisa, Impressões da Luz, tendo como foco a construção de objetos artísticos a partir da relação entre matéria e luz, procurou responder à seguinte questão: como elaborar um livro-objeto iluminado? O trabalho nasceu desse conflito, que envolve também a observação, a percepção, a emoção e a apresentação dos objetos. Buscando expressar o ilimitado no espaço recluso de um projeto, notei que algumas formas e cores que compunham a paisagem do pôr do sol sempre apareciam mais intensamente em minha memória e, por isso, comecei a investigá-la. A produção artística, composta de um livro-objeto e intervenções no espaço por meio da instalação, que enfatizou os conceitos de luz, cor e forma na composição das Artes Visuais, resultou na procura de uma poética visual
Abstract: This research, Impressions of the Light, has its focus in the construction of artistic objects, made in relation to the matter and light: how can we elaborate an illuminated book-object? This paper was born from that conflict that also involves observation, perception, emotion and the presentation itself. How can we express the limitless in a reclusive space of the project? We have come to the conclusion that some forms and colors that composed the sunset always appeared more intensely in our memory and for that reason we began to investigate it. The understanding of the artistic production of the book-object and the interventions in space through its installation, emphasized the concepts of the light, color, form in the space of the composition of the Visual Arts and also had as a result the investigation and the search of a visual poetic
Doutorado
Artes Visuais
Doutor em Artes
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Whearty, Lauren Ann. "Making Space: Language, Painting, Poem." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1307394266.
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Marchese, Carolina Moraes, and Carolina Moraes Marchese. "Uma intenção [além do visível]: desenho." Universidade Federal de Pelotas, 2014. http://repositorio.ufpel.edu.br/handle/ri/2773.
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A presente pesquisa parte de minha produção em desenho desenvolvida nos anos de 2012 e 2013. As reflexões aqui contidas se originam do modo de construir desenhos, e envolvem a maneira de olhar os objetos do mundo e as relações que se estabelecem a partir dessa visão. Para empreender a busca inicial, que consistia em descobrir como se estrutura o pensamento de desenho em minha prática, reuni algumas noções de artistas e teóricos sobre modos de ver e de desenhar. Assim, nessa pesquisa, descrevo procedimentos; aproximo minha produção a de outros artistas; relaciono o desenho e seu modo de produção com objetos do meu cotidiano.
This research comes from my drawing production developed during 2012 and 2013. e reflections in it come from the way my draws are constructed and involve the way of seeing objects and the relations that are established from this vision. To undertake the initial search, which consisted in discovering how is structured a draw thought in my practice, I brought togheter some notions from artists and theorists about ways of seeing and drawing. us, in this research, I describe procedures; I approach my production to the ones from other artists and I associate the drawing and its production mode with my everyday objects.
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Fries, Katherine. "Ariadne’s Thread - memory, interconnection and the poetic in contemporary art." University of Sydney, 2008. http://hdl.handle.net/2123/5709.
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Master of Visual ArtsThis Dissertation explores the metaphor of Ariadne’s thread in terms of interconnection, when an element from the everyday is used as a locus linking broader concepts of time and space. Such experiences and associations are reflected in the work of Louise Bourgeois, Eva Hesse, Doris Salcedo, Lucio Fontana, Richard Tuttle, Mona Hatoum, Simone Mangos, Anya Gallaccio and Yoshihiro Suda. In relation to my own work, the metaphor of interconnecting thread allows a sense of freedom and journey of discovery. My studio and related research are closely aligned in developing my understanding of interconnection, through my studio process of making and continuing experiences of looking at and interpreting others artists’ work.
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Pedrosa, Nuno. "Raison pratique et création réflexive : l'artéfact au-delà du champ étendu de l'art." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010563/document.
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Cette thèse, qui met en relation réflexion théorique et création artistique, entend comprendre pourquoi au cours de la contemplation d’une oeuvre d’art notre attention dépasse rarement ses qualités formelles, esthétiques ou conceptuelles.Contrairement à d’autres artefacts que nous rencontrons au quotidien, nous identifions les œuvres d’art au fait qu’elles ne satisfont pas des fins utilitaires. Leur place dans le musée ou la galerie en atteste et conduit à faire en sorte qu'elles n’ont pas d'autre rôle que d’attirer notre attention sur leurs caractéristiques propres. Cette thèse oppose à ce constat un mode de réception qui repose sur l’articulation de l’artefact à un environnement social. Cela suppose un mode de création et d’expression basé sur la fabrication d’instruments ou dispositifs susceptibles d'interpeller le spectateurThis thesis, which combines theoretical analysis with artistic creation, attempts to understand the reason why, when contemplating works of art, we rarely look beyond their aesthetic, formal or conceptual qualities. Unlike many other objects that we encounter in our lives, works of art are recognizable by the fact that they serve no practical purpose. Their idle existence in galleries and museums confirms this and ensures that works of art fulfill no other function than that of drawing our attention to their inherent qualities. That being the case, this thesis proposes a way of appreciating art that relies on the articulation between an artefact and a social setting. This assumes a way of creating art and expressing ourselves that is grounded on the fabrication of instruments or devices predisposed to engage the beholder
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Schütz, Marine. "Entre les lignes : dessin, illustration et pratiques graphiques dans le Pop art (1950-1975)." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3104.
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Dès l’apparition du Pop art autour de 1962, l’iconographie de l’illustration et de la publicité indique l’émergence d’une véritable esthétique graphique. La rencontre du Pop art et du dessin se révèle particulièrement intéressante car suivre les productions réalisées dans cette discipline éminemment manuelle permet de réexaminer les différentes positions des artistes vis-à-vis de la culture de masse et d’aborder des questions tant matérielles qu’iconographiques. Partant du constat que les formations artistiques sont à l’origine du va-et-vient entre options manuelles et mécaniques dans l’économie du Pop art, le propos débute par l’examen des conditions d’émergence du dessin. L’examen des relations entre dessin et culture de masse ne saurait être complet sans évoquer la réponse d’artistes qui s’engagent dans la recherche d’un dialogue avec un public croissant (par des stratégies de classe, l’iconographie de logos de produits, la prise en compte des possibilités de l’estampe etc.). Non seulement l’œuvre naît du parcours de la main, mais le dessin pop dépasse le seul processus créateur pour exister dans un corpus d’œuvres autonomes, qui s’écarte de tout schéma finaliste. Cette présence souligne ce que peuvent avoir de critique l’image et l’action du corps. De même que Claes Oldenburg et David Hockney opposent une tension manuelle aux expressions mécanisées dans la société – et là réside le double sens de la notion d’engagement autant physique que politique dans le dessin pop –, le réinvestissement du corps sous la forme du portrait et du nu affirme sa solidarité avec les combats pour la libération sexuelle à l’aube des années soixante-dixBy 1962 with the beginning of Pop art, the iconography of illustration and advertising points the development of an art founded on graphics. Interestingly, the relations between Pop art and drawing allow to follow how the handmade practices reassess the artists’ positions towards mass culture and deal with material issues (such as manual involvement) and the meaning of iconography (counter-culture, return of the figure). Starting from the point that artistic pop economy of art owes its back and forth mouvement between manual and mechanical options to its protagonists’ artistic education, this dissertation opens with the study of drawing’s emergence in a pedagogical context. The study of the relations between drawing and mass culture wouldn’t be fully led without assessing the answer of the artists who involve in the claim for a bigger audience (with a class strategy, an iconography full of mass products and the possibilities of prints). Moreover, not only the graphic works stem from the hand, but pop drawing overwhelms the solely issue of creation processes to exist in an autonomous corpus of works, which doesn’t fall into the finalist schema. This presence points how critical may be the body, through drawing, as an image and as an action. Similary to Claes Oldenburg and David Hockney who oppose a manual tension to the social mechanized expressions – and there lay the double sense of the very notion of involvement which is to be understood in Pop art in the same time on a physical and a political level – the reinvolvement of the body by way of portrait or nude shows its solidarity with the fights in the wake of the sixties, fight for sexual liberation, or women rights
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Skaggs, Meredith L. "Fluidity and Transformation: Positioning the Art of Cai Guo-Qiang." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1338435148.
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Hewitt, William John. "True stories drawn from life : a critical and cultural reflection on courtroom drawings in contemporary English national daily newspapers." Thesis, Manchester Metropolitan University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.479173.
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The central subject of this thesis is the practice of contemporary English courtroom drawing. Its outcome in daily newspapers constitutes the sole application of eyewitness drawing as a regular means of reporting hard news within the mass media. Courtroom drawing - or sketching - is a long-established, culturally pervasive but critically neglected form of visual journalism. Its antecedents and characteristics have been associated with the generic imagery of broadsides, and it is possible that its future will be curtailed by the use of photo-digital technologies. The survival of courtroom drawing is a consequence of the prohibition of image-making in British courts, which causes the representation of trials to be dependent on artists' memories. The journalistic performance and evidential value of autobiographic memory are key concerns of this thesis. I will refer to the central objects of discussion as courtroom drawings and courtroom sketches, and occasionally as courtroom art. Here the words'sketch' and 'drawing' are closely related to the activities of production, and I will attach no hierarchical attributes to these terms within the context of the depiction of modern British trials. At the outset of my research just four full-time courtroom artists were employed in the English national news media. Their testimonies provide a primary source of information concerning the material and social conditions of the production of courtroom drawings. Elements of my creative practice are referenced as a method of engaging with the mnemonic depiction of the courtroom, and in that sense this thesis is practice-led. I aim to demonstrate the research value of personal practice in the analysis of other artists' work, and to re-centre the artists' experience of production within a pluralistic critical discourse. A reflection on the Soham murder prosecutions weighs perceptions of the production experience against the display of courtroom drawings within the miscellany of daily news, leading to considerations of the wider cultural functions of memory and the interplay of the past and the present in public and private negotiations of truthfulness. I am able to conclude that contemporary courtroom sketches are the outcome of a rigorous, specific, principled and studious process of visual investigation. By presenting a more detailed account of the practice and culture of contemporary courtroom drawing than hitherto existed, this thesis makes a significant contribution to our knowledge of a rarefied form of visual journalism, and of the evidential value of personal memory in the production of hand-rendered 'eyewitness' art.
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Pereira, Marcelo Eugênio Soares. "Acumular tesouros : um olhar sobre os cadernos de desenho." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/131745.
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A pesquisa intitulada Acumular tesouros: um olhar sobre os cadernos de desenho analisa um conjunto de cadernos de desenho, elaborados por mim, entre 2006 e 2015. O objetivo desse estudo é investigar de que modo a utilização frequente dos cadernos de desenho constitui uma poética e de que forma os cadernos são abordados na história da arte. A metodologia, de ordem qualitativa, possui por principal ação a continuidade da produção prática, assim como as relações estabelecidas entre os meus cadernos e os de outros artistas. Neste estudo, evidencio o aspecto heterogêneo dos cadernos, já que estes comportam e agregam grande quantidade de elementos gráficos, além dos desenhos, tais como colagens e escritos. É explorada a hipótese de que os cadernos não são apenas instrumentos para obras futuras; mas que são, principalmente, veículos que possibilitam experimentações artísticas das mais variadas naturezas. São abordados os conceitos de hupomnêmata a partir de Michel Foucault (2004; 2010; 2011); colagem por Antoine Compagnon (1996); e desenho a partir de John Berger (2010).The present research entitled Accumulating treasures: a look upon sketchbooks analyzes a set of sketchbooks, created by myself between 2006 and 2015. The main objective of this research is to investigate in what way the frequent use of sketchbooks constitutes a poetics and how sketchbooks are addressed in Art History and in contemporary artistic production. The methodology – which follows a qualitative approach – has as main procedure the continuity of practical production as well as the establishment of relations among my sketchbooks and other artists’. I emphasize, in this study, the heterogeneous aspect of the sketchbooks, considering that they contain and aggregate a considerable amount of graphic elements besides the drawings, as well as collages and writings. The hypothesis explored is that the sketchbooks are not just an instrument to future works, but they are mainly means that allow artistic experiments of several kinds to be carried out. The concepts of hupomnêmata by Michel Foucault (2004; 2010; 2011); and collages by Antoine Compagnon (1996) are addressed along with the concept of drawing according to John Berger (2010).
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Tai, Lin-Chih. "Floraison fuyante : le processus de transformation dans le dessin contemporain." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010504.
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Cette recherche met en relation un travail de création artistique par le dessin et une réflexion sur le notion de transformation dans l'imaginaire taïwanais. Il s'agit de penser artistiquement les processus de reconstruction d'une identité, pendant la compréhension et l'adaptation à une culture différente. L'accent est mis sur le processus qui transforme des sentiments inhibés en expériences d'images. Ces images dont la composition peut rappeler les technique surréalistes ou de l'art fantastiques renvoient au rêve construit à partir d'un imaginaire vernaculaire propre à la culture Taïwanaise: rites familiaux, cérémonies collectives religionsyncrétique pour manifester ce choc et le décalage imaginaire. Le dessin peut montrer des images irréalistes, comme un rêve. Cette thèse entend comprendre comment cet imaginaireune fois formalisé par le dessin construit une identité tant artistique que culturelleThis research connects the creative artistic work of a drawing to reflections on the change in the Taiwanese imagination. It means to artistically think through the reconstruction process of an identity as it comprehends and adapts to another culture. The emphasis is placed on the way inhibited feeling are transformed into visual experiences. Using what could appear to be surrealist techniques or fantastic art, these images evoke dreams built on distinctive vernacular concepts found in the Taiwanese culture, as in family rituals, or collective syncretic religious ceremonies, to shock an highlight the differences. The illustration can depict unrealistic imaginings like in a dream. This thesis aims to explain how this imagination, once formalized by a drawing, shapes both artistic and cultural identity
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Proszek, James Michael. "Drawn Apart: Visual Representations of the Persian Wars in Contemporary Graphic Novels and Film." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/theses/1833.
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Over the past two millennia, dominant Western narratives of the Persian Wars have established a problematic East-West binary in which Greece is represented as a defender of democracy whose improbable victory over the Persians laid the foundation for the development of Western civilization and the Persians are represented as a power hungry, totalitarian “Other” determined to subjugate all whom they encounter. Frank Miller’s graphic novel, 300, and its subsequent film adaptations, 300, and 300: Rise of an Empire (collectively referred to as the 300 franchise) have reinforced and contributed new problematic elements to the dominant Persian War narratives with contemporary visual representations of key historical figures, locations, and events as they pertain to the conflict. In this thesis I conduct a visual rhetorical analysis of the 300 franchise to identify and explain its problematic visual representational tactics for both the Greeks and Persians. Next, I conduct a visual rhetorical analysis of a non-Western Persian Wars counter-narrative, Ramin Abhari’s Xerxes Speaks. Throughout my analysis of Xerxes Speaks I identify instances in which the counter-narrative addresses 300’s problematic representations of the East as “Other.” I conclude by discussing the importance of critiquing visual representations in order to continue to disrupt dominant Western Persian War narratives and subsequently try to establish a currently marginalized Persian perspective on the Persian Wars.
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Scheibe, Marit [UNESP]. "Thinking being an artist: a lousa como objeto artístico na obra de Joseph Beuys." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/153968.
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Esta dissertação enfoca a Lousa como objeto artístico na obra de Joseph Beuys, procurando uma aproximação com o observador, captando seu interesse na direção dos caminhos sensíveis propostos pelos rabiscos. Pretende conduzir a sensibilidade do espectador para expandir a vivência de valores humanistas. Como suporte, revela-nos o empenho do artista por uma arte viva. A pesquisa se oferece como um fio condutor a quem se interessa pela ampliação do conceito de arte, e, ao mesmo tempo, se propõe a evidenciar, através do mergulho em alguns símbolos, as direções e paisagens do pensamento do artista.
The present study focuses on the Blackboard as an artistic object in the work of Joseph Beuys and aimes an aproximation with the observer. It wants to capture the interest of the spectator for the sensible paths proposed by the scribbles. It intends to drive the sensitivity of the spectator in order to expand the experience of humanistic values. As a support, the blackboard reveals the artist´s commitment to a living art, to life. The research offers itself as a guiding thread to those who are interested in the expansion of the concept of art. At the same time, it aims to evidence, through an immersion in some symbols, the directions and landscapes of the artist´s thought.
Não recebi financiamento
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Salamanca, Angarita Óscar Mauricio. "Memoria del "Goldfish": Presentación y Representación del animal en el dibujo occidental de finales del siglo XX, La." Doctoral thesis, Universitat de Barcelona, 2005. http://hdl.handle.net/10803/2560.
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El animal ha estado presente en el laboratorio a partir del siglo xx. Ya sea en la investigación científica, en el debate político o en la exploración artística, el animal ha carecido de refugio, es la víctima propiciatoria de todos los sacrificios contemporáneos.Sin la función exploratoria que las vanguardias adjudicaron al arte poco o nada habría que documentar de tales operaciones. La figuración plástica, por otro lado, ha afianzado su proximidad en los diseños derivados del industrialismo tardío. El pop como escuela última del siglo pasado ha visto explotar las hibridaciones entre imagen pictórica y mediática. El siglo xx fue el siglo del triunfo de la imagen visual. La profusión de imágenes ha saturado la visión y sustituido al mundo por su representación.
La gráfica en el arte de finales de siglo cobraría una inusitada preponderancia por sobre las expresiones pictóricas. El arte conceptual y los minimalismos ejercieron una fuerte influencia sobre los estilos emergentes atrajeron una mayor atención hacia aspectos estructurales y sistemáticos de la práctica del arte. Hacia principios del siglo XXI el estatuto contemporáneo del dibujo es de primera relevancia respecto a otros recursos.
Poco queda ya de las identidades clásicas, nada, a decir verdad, de los géneros pictóricos donde las presencias animales hallaban clara pertinencia. El código genético es el trazo definitorio de las identidades en el siglo XXI. Ni la naturaleza muerta, ni el paisaje, ni el retrato con animales subsisten más que como formas paródicas. Los individuos del finales del siglo perdían toda relación de permanencia y trascendencia. En ese proceso fueron desfigurándose y desmaterializándose como la misma sustancia de la obra artística. Devenido discurso el arte tendría que volverse por un lado autorreferencial y por el otro una aplicación comunicativa.
No hallamos más a la naturaleza en nuestro entorno. El arte del siglo XX fue urbano, artificial, abstracto, sintético, teórico y, finalmente, sarcástico. La imagen de la naturaleza pasó a ser un tópico romántico trascendido y obsoleto; un lamento nostálgico. La sobre explotación de los recursos naturales aunada a la depauperación de las regiones rurales del planeta, particularmente en regiones extensas del tercer mundo, ha generado una actitud catastrofista hacia el programa desarrollista de occidente y se plantean más dudas que certezas frente al destino de múltiples especies animales y vegetales. El imaginario tradicionalmente prolífico y virtuoso de la naturaleza como abundancia inabarcable y como fuente de secretos y maravillas se ha trocado en una visión apocalíptica de fin de la vida.
La creciente preocupación en torno a la degradación acelerada de la naturaleza ha conducido a una conciencia política y civil de la ecología como postura ética y cultural de vanguardia. En correspondencia con el ecologismo desde el arte se ha hecho presente una actitud de reinterpretación de lo natural, ya no por medio de la imitación figurativa, sino como correlato cultural elíptico.
Por ello, la presencia de los animales en el arte de las últimas décadas del siglo XX plantea paradojas interesantes. No son el tema central de tal práctica, a decir verdad ningún tema lo fue; son agentes de extrañeza y de descentramiento. Son un sujeto aparentemente banal, periclitado en la historia, pero abandonado al margen de mitologías y utopías ancestrales. Los grandes imaginarios zoológicos de claras connotaciones al culto han perdido pertinencia en un mundo tecnificado y mediatizado. Por otro lado ese espacio salvaje del mundo animal, como instinto y naturaleza pura, ha sido neutralizado por la práctica psicoanalítica. Es propio de la civilización actual no hallar otros referentes que los antropocéntricos. El estatuto animal ha sido degradado a la domesticación e incorporado a la cadena productiva. Lo animal es excesivo y excedente: un suplemento irracional sin lógica en el diseño de la civilización futura.
La calidad espiritual del arte contemporáneo es débil, porque la sociedad que lo produce tiene un alma confundida. Las formas animales, tradicionalmente arquetipos de valor y conocimiento, nos son tanto más extrañas cuanto más manipulables y desintegradas nos parecen. Buscar un lugar para su manifestación en el arte necesariamente demanda una reconsideración de los procesos culturales de interpretación del mundo como un espacio donde aún tenga cabida la dimensión espiritual.
"Goldfish's Memory: Animals' Display and Representation in the Late 20th Century Western Drawings. (1970 - 2000)"
The traditionally prolific and virtuous imaginary of nature, as an endless abundance and source of all secrets and wonders, has changed into an apocalyptic vision of the end of life, as we know it.
The increasing concern about the fast degradation of nature has led to a civil and political conscience around ecology, as an avant-garde ethical and cultural posture. From the point of view of the ecology, seen through the lens of the Arts, there has been an attitude towards the re-interpretation of the natural, not by means of the figurative imitation, but as a cultural elliptic co-narrative.
This is the reason why, the presence of animals in the art production of the last decades of the 20th Century poses some interesting paradoxes. Animals are not the central theme of this practice; actually, they never were: they are agents of estrangement and decentralization. They are an apparently banal subject, glorified in history, but put aside along with mythologies and ancestral utopias. The great imaginary from zoology, clearly bonded to cult and ceremonial practices, has lost its pertinence in a technophile and media-influenced world. On the other hand, the "savage" space of the animal realm, as pure and natural instinct, has been neutralized by a psychoanalytic practice. It is proper to the current civilization to find no other references that those anthropocentric. The animal statutory has been subdued to domestication and incorporated to the dynamics of the production line. The animal is excessive and a left over: it is an irrational supplement without logic in the design of the future civilization.
The spiritual sphere of contemporary art is weak because the society that produces it bears a confused soul. Animals' form, traditionally depicted as a knowledge and value archetype, appears to us the stranger the more controllable and disintegrated they seem. To look for an appropriate space for their artistic manifestation obliges a reconsideration of all the cultural processes we use to interpret the world as a place where a spiritual dimension is still possible.
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Jung, Chang Sung. "Agencification and quangocratisation of cultural organisations in the U.K. and South Korea : theory and policy." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15930.
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This research focuses on agencification and quangocratisation (AQ) through a comparison of the experiences of South Korea and the UK. Although a number of studies of AQ have been produced recently, these reforms remain inadequately understood. Since AQ involves the structural disaggregation of administrative units from existing departments, executive agencies and quangos have distinct characteristics which are quite different from ordinary core departments. There are a number of factors which influence these changes; and this thesis explores nine existing theories which are available to explain these phenomena. Case studies are presented of Tate Modern in the UK and the National Museum of Modern and Contemporary Art (MMCA), which are carefully analysed to examine the validity of those nine arguments. Although cultural agencies, which show some unique features, have become increasingly an essential part of the national economy, they have scarcely been researched from the viewpoint of public policy. This thesis endeavours to explore distinctive characteristics of this policy area; and moreover, it examines the diverse variables which have an impact on policy formation and its results through the process of comparison of arguments. The major tasks of this thesis are to investigate the applicability of the nine arguments and to weigh their merits. As a corollary of this comprehensiveness, it examines the whole public sectors of both countries, in order to show the broader picture and to understand the processes of changes and their backgrounds. More profoundly, similarities and differences between both countries are compared from both macro and micro perspectives. At the same time, the results of AQ are analysed through the comparison of outputs or outcomes before and after these changes, with a view to exploring whether their rationales are appropriate. Furthermore, it also examines the institutional constraints which influence not only the change of agencies but also their performances. Besides which, it seeks to find strategies for overcoming these constraints. This thesis adopts systematic and comprehensive approaches regarding basic concepts and data. It draws on theories of comparative research, the scope of the public sector, the classification and analysis of agencies and quangos, and theories underlying the detailed components of each argument and epistemological assumptions. Therefore, it suggests various aspects which enable us to broaden our understanding of the changes within the public sector; and to generate practical understanding to inform real world reform.
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Travis, Sarah Teresa. "Portraits of Young Artists: Artworlds, In/Equity, and Dis/Identification in Post-Katrina New Orleans." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157583/.
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Using portraiture methodology and social practice theory, this study examined the identity work of young people engaged in a teen arts internship program at a contemporary arts center in post-Katrina New Orleans. This research asked four interrelated questions. Through the lens of a teen arts internship at a contemporary arts center in post-Katrina New Orleans, 1) How do contextual figured worlds influence artist identity work? 2) How does artist identity work manifest through personal narratives? 3) How does artist identity work manifest in activities? 4) What are the consequences of artist identity work? The findings of the study highlight how sociocultural factors influence dis/identification with the visual arts in young people and provoke considerations of in/equity in the arts.
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Meade, Phillip L. "Civil disobedience as a pro-life tactic a consensus approach to its justification and parameters as drawn from three contemporary evangelical thinkers /." Theological Research Exchange Network (TREN), 1988. http://www.tren.com.
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Glikson, Michal. "Towards a Peripatetic Practice: negotiating journey through painting." Phd thesis, https://datacommons.anu.edu.au/DataCommons/item/anudc:5523, 2017. http://hdl.handle.net/1885/128513.
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Towards a peripatetic practice: negotiating journey through painting investigates painting as a way of comprehending lived experience of travel. The project develops from curiosity about journeys and their potential for bringing the artist into encounters with the world, and proximate to its issues and concerns. Aims of the project focused on peripatetic practice as a means of redirecting a personal experience of rootlessness towards connecting with others, and considering and communicating the complexity of cross-cultural experience through painting. Objectives as such were to investigate through practice the function and form of peripatetic painting, and to document this through film and writing. The study acknowledges travel as an ancient way of knowing the world and takes inspiration from the paradigm of the nomadic storyteller as exemplified in the Bengali tradition of Patuya Sangit (scroll performance). With a sense of the capacity for painting to provide spaces of connection and empathy, the study draws on the writing of John Berger and Suzi Gablik, exploring a confluence of ideas about the evolving social role of the artist. Key influences are historic and contemporary peripatetic creative practices, which include the writer Freya Stark, the colonial painter William Simpson, and the artists Phil Smith and John Wolseley. The project also incorporates methodological approaches which borrow from anthropology, situating the artist as observer, participant, and ultimately, agent. Practice in this context is immersive, and takes on social, interactive dimensions for which making paintings becomes a means of knowing and questioning the nature of cross-cultural experience. Explorations took the form of increasingly immersive journeys in Australia, India and Pakistan and a series of paintings utilising extended scroll formats with additional outcomes of documentary films. As the key research spaces for practice-led research, the scroll paintings employ pencil, collage, watercolour and oil, and a metaphoric fusion of styles and techniques of painting and drawing, notably Persian miniature and life portraiture as a means of accounting for and sharing the abiding experiences and encounters yielded through travel.
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Ysasi, Alonso Alejandro. "La obra gráfica de Pedro Quetglas “Xam” (1915-2001): la riqueza de un patrimonio." Doctoral thesis, Universitat de les Illes Balears, 2014. http://hdl.handle.net/10803/284394.
Full textAbstract:
És una investigació, anàlisis, i aproximació a l’obra gràfica de l’artista mallorquí, del segle XX, Pere Quetglas, conegut pel pseudònim de “Xam”. La seva activitat s'ha sistematitzat sobre la base la biografia, tècniques treballades i el seu entorn.
Xam, es va exercitar en la caricatura, el dibuix, el cartell, el gravat xilogràfic, la pintura, els monotips, la serigrafia i en el gravat calcogràfic. Del conjunt de tota la seva producció l’autor se centra en l'obra gràfica produïda a partir de 1944, quan pot datar-se la seva primera xilografia, i la seva defunció, l’any 2001, en el qual realitza la seva última litografia.
El treball s'insereix en un àmbit sense tradició immediata sobre l'obra gràfica a Mallorca, pràcticament desapareguda després de la important impremta Guasp.
S'han pogut documentar més de 400 matrius. Alhora, s'han treballat les estampacions d'aquestes, que ascendeixen a 600 estampes calcogràfiques, xilogràfiques, serigràfiques i litogràfiques.Es una investigación, análisis, y aproximación a la obra gráfica del artista mallorquín, del siglo XX, Pedro Quetglas, conocido por el seudónimo de “Xam”. Su actividad se ha sistematizado en base a la biografía, técnicas trabajadas y a su entorno. Xam, se ejercitó en la caricatura, el dibujo, el cartel, el grabado xilográfico, la pintura, los monotipos, la serigrafía y en el grabado calcográfico. Del conjunto de toda su producción se centra en la obra gráfica producida a partir de 1944, cuando puede datarse su primera xilografía, y su fallecimiento, en 2001, en el cual realiza su última litografía. La tarea se inserta en un ámbito sin tradición inmediata sobre la obra gráfica en Mallorca, prácticamente desaparecida tras la importante imprenta Guasp. Se han podido documentar más de 400 matrices. A su vez, se han trabajado las estampaciones de estas, que ascienden a 600 estampas calcográficas, xilográficas, serigráficas y litográficas.
The thesis is research, analysis and approach to the graphic work of the Majorcan artist of the 20th century, Pedro Quetglas, known by his pseudonym "Xam". Xam worked in several art fields, such as caricature, drawing, designing and painting posters, woodcut, painting, monotype, serigraphy and calcography engraving. From the sum of his work the thesis is centred in the graphic work produced between 1944, when we can date the first xylography, and his death, 2001, when he finished his last lithography. The task was inserted in a field without immediate tradition on the graphic work in Mallorca, which practically went missing after the important Guasp printing house closed down. It has been possible to document more than 400 blocks and, at the same time, the prints of those which add up to 600 prints on chalcography, xylography, serigraphy and lithography.
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Køhlert, Frederik Byrn. "Drawing in the margins : identity and subjectivity in contemporary autobiographical comics." Thèse, 2014. http://hdl.handle.net/1866/12014.
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Mon projet de thèse démontre comment le genre de la bande dessinée peut être mobilisé de façon à déstabiliser les idéologies identitaires dominantes dans un contexte autobiographique. À partir de théories contemporaines de récits de vie et de leurs emphase sur la construction du sujet au travers du processus autobiographique, j’explore les façons par lesquelles les propriétés formelles de la bande dessinée permettent aux artistes féminines et minoritaires d’affirmer leurs subjectivités et de s’opposer aux idéaux hégémoniques reliés à la représentation du genre, du traumatisme, de la sexualité, de l’ethnicité, et du handicap, en s’auto-incarnant à même la page de bande dessinée. Par une analyse visuelle formelle, ma thèse prouve que les esthétiques hyper-personnelles du dessin à la main découlant d’une forme ancrée dans l’instabilité générique et le (re)mixage continu des codes verbaux et visuels permettent aux artistes de déstabiliser les régimes de représentation conventionnels dans une danse complexe d’appropriation et de resignification qui demeure toujours ouverte à la création de nouveaux sens.
Suite à l’introduction, mon second chapitre explique la résistance de Julie Doucet par rapport aux plaisirs visuels découlant de la contemplation des femmes dans la bande dessinée par son utilisation du concept originairement misogyne de la matérialité féminine grotesque comme principe génératif à partir duquel elle articule une critique de la forme et du contenu des représentations normatives et restrictives du corps féminin. Le troisième chapitre considère la capacité de la bande dessinée à représenter le traumatisme, et se penche sur les efforts de Phoebe Gloeckner visant à faire face aux abus sexuels de son enfance par l’entremise d’un retour récursif sur des souvenirs visuels fondamentaux. Le chapitre suivant maintient que la nature sérielle de la bande dessinée, sa multimodalité et son association à la culture zine, fournissent à Ariel Schrag les outils nécessaires pour expérimenter sur les codes visuels et verbaux de façon à décrire et à affirmer le sens identitaire en flux de l’adolescent queer dans sa quadrilogie expérimentale Künstlerroman. Le cinquième chapitre suggère que l’artiste de provenance Libanaise Toufic El Rassi utilise la forme visuelle pour dénoncer les mécanismes générateurs de préjugés anti-Arabes, et qu’il affirme son identité grâce au pouvoir de rhétorique temporaire que lui procure l’incarnation d’un stéréotype connu. Mon dernier chapitre démontre comment Al Davison emploie la bande dessinée pour mettre en scène des rencontres d’observations dynamiques avec le spectateur implicite pouvant potentiellement aider l’auteur à éviter le regard objectivant généralement associé à la perception du handicap.This dissertation argues that the comics form can be mobilized to destabilize dominant notions of identity in an autobiographical context. Drawing on current theories of life writing that stress the construction of the self through the autobiographical process, it explores how the specific formal properties of comics provide opportunities for women and minority artists to assert subjectivity and contend with hegemonic ideas concerning the representation of gender, trauma, sexuality, ethnicity, and disability through the embodiment of the self on the comics page. Through formal visual analysis, the dissertation shows how the highly personal and hand-drawn aesthetics of a form that thrives on generic instability and the continual (re)mixing of verbal and visual codes allows artists to destabilize conventional representational schemes in a complex dance of appropriation and resignification that is always open to the creation of new meanings. Following the introduction, Chapter 2 shows how Julie Doucet resists the visual pleasure associated with looking at women in comics by using the originally misogynistic concept of grotesque female materiality as a generative principle from where she articulates a critique in both form and content of normative and restricting representations of the female body. Chapter 3 examines the comics form’s ability to depict trauma, and focuses on Phoebe Gloeckner’s attempts to come to terms with childhood sexual abuse through a recursive return to key visual memories. Chapter 4 argues that the form’s serial nature, multimodality, and association with zine culture provides Ariel Schrag with the tools to experiment with visual and verbal codes in order to delineate and assert a sense of the in-flux and queer teenage self in an experimental four-volume Künstlerroman. Chapter 5 argues that Lebanese-born artist Toufic El Rassi uses the visual form to expose the mechanism behind the production of anti-Arab prejudice, and that he asserts personal identity through the temporary rhetorical power afforded by the inhabitation of a known stereotype. Chapter 6 shows how Al Davison employs the comics form to stage dynamic staring encounters with the implied observer that have the potential to help the author elude the objectifying gaze commonly associated with looking at disability.
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Morgan, Carl. "Hand rendering in contemporary visual communication." Thesis, 2015. http://hdl.handle.net/1959.13/1305623.
Full textAbstract:
Masters Research - Masters of Philosophy (MPhil)Drawing and hand rendering was once at the heart of the graphic design process. It was recognized as the fundamental industry skill that would be used to conceptualize an idea and in many cases, develop the idea into a finished design. The resulting intimacy between designer and their design revealed an appreciation and understanding of the crafting of materials and surfaces. This form of tactile tacit knowledge often foreshadowed a profound understanding of the relationship between eye, hand and the designers thought process. This ‘practice lead’ approach was also central in developing the designer’s critical judgment and visual language. As the visual communications industry began to embrace new technology the designer’s role became transformed away from traditional methods of image making, towards an increasing reliance on digital processes. This paper aims to investigate the current use of hand rendering by both students and professionals to ascertain whether it is an integral component of the current design field.